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We also have about fifteen people who work at NP: How many people work at the Magnanville factory?ĪG: About eighteen. Keys before doing the mounting on the wood. We make our keys out of nickel silver sheet metal, using a press and cutters. Magnanville (near Mantes), about fifty kilometers west of Paris. The keys are made and mounted at the other factory in
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Paris because we don't have the space for it, plus we could never get a permit because of the dust and noise pollution. It's a small factory-three people-and this is the only work they do. Kilometers west of Paris, where the wood is turned and aged for five years. Can you explain the stages of production for a Lorée oboe, and where each takes place?ĪG: We have a factory in Ivry la Bataille, about one hundred Have made changes in the bore, tone holes, mechanism design, and I've done experiments with bocals. Our bass oboe is a copy of an old Lorée instrument, but I NP: Do you do the tuning on the English horns and bass oboes, too?ĪG: Yes. Keys otherwise you are tuning when part of the oboe isn't finished, and you make a bad instrument. And before you tune the instrument, you must be sure of the covering, the springs, the opening of the Myself, in order to be sure of what stays the same and what must change. When I do the final tuning, I must play the oboe NP: Do you find that being able to play the oboe is helpful to youĪG: Yes, certainly.
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I continue to test all the oboes,īut technically I'm not really so good! My technique is definitely not wonderful. I still try to play a little every day, though it's very difficult to play oboe and make oboes. Won my prize at the Versailles Conservatory. I studied until I was eighteen or nineteen. NP: As I was walking in, I heard you practicing. Since I am thirty-three years old, that means I've been here for fifteen years-a long time! I learned everything about oboes right here. The activities of all three locations - I spend at least one day a week doing just that.ĪG: Well, I completed two years of work in accounting before I I work in three places, too - we have two factories outside Paris. Sure what I am! If a worker is absent, for instance, I will often do part of his job. NP: Do you have an official position within the firm?ĪG: Yes. Oboe is specialized, if I really apprenticed, it would have taken twenty five years to learn to do it as fast and as well as the people who do all those jobs. So I had to accept responsibility immediately. My father was ill in 1967, and for three weeks there was no boss. I tried to learn a little of everything, though I did not We must also correspond with many, many people.ĪG: 1967. I also spend a lot of time with customers, and my sister and I spend time with There are always problems which need my attention. Since I have forty people working for me. I used to do more of the manufacturing myself- drilling the tone holes for instance - but I don't have the time for that now, Production I also do the final adjustments. Could you tell me exactly what yourĪG: The biggest part of my work is to control all aspects of oboe Years ago-almost to the day-was when I first walked through the door here. NP: For me, this interview is an anniversary of sorts. Version of it sounds too interesting to miss. I am making oboes for posterity." My only regret is that posterity is a long way off, and Alain de Gourdon's Not making oboes for me I am thinking about after me. While Alain and I were talking after the interview, he commented on an extremelyĮxpensive piece of machinery which probably wasn't needed at the time of purchase, but which he felt would be a good investment in the long run. Lorée, my admiration for his skills and dedication to a superior product only escalated. Interviewing Alain de Gourdon, the current director ofį.
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The Lorée oboe is as much a part of oboe history - and our professional lives - as anything could be. Interview with Alain and Robert De Gourdonįor most of us, the firm of F.